Delicate Sen

I’m happy to officially promote the Delicate Sen CD-R on Copy For Your Records. We were selling this disc on tour and I’m just catching up with lots of things like this. A great, restrained and sensitive improvisation by our trio, recorded in Brooklyn back in March.

Brian Olewnick just posted a review:

This is just a really good, varied and strong live set by the trio of Billy Gomberg (synthesizer), Anne Guthrie (french horn) and Richard Kamerman (motors, objects), recorded in March of this year. I think they have a leg up with the delicious instrumental blend here: Kamerman tends toward the harsh and metallic while Gomberg has a refreshing tendency, when I’ve heard him, to linger in tonal byways. Add to this the all too rare, in this music, timbre of the french horn, beautifully deployed here by Guthrie, and you have a delicious prospect from the get-go. And then they construct this utterly captivating performance that wends its way through numerous neighborhoods, each of interest, almost never flagging over its 40 minutes. There’s a point about halfway through where Gomberg adopts an almost church-organ kind of sound opposite Kamerman’s jangling metal that’s fantastic and when Guthrie plants long, burred tones in the midst, transcendent. Fine work.

Get yr copies direct from Copy For Your Records.

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Delicate tour recap

If you are looking for a very short, precise recap of the Delicate Sen West Coast Tour:

Fantastic.

Check out photos on Richard’s Flickr stream

Vancouver, August 22 & 23:

After a long travel day (the first), the really crisp, mild weather in Vancouver is a great relief. Both Richard + I had to completely unpack our gear going through security at Laguardia which was…an experience. We left NYC at the height of a crushing heatwave, though which I was working days in a large garage w/out air conditioning, so the change of environment was really appreciated.

Had to get to Alley Pad Studios rather promptly to prepare for a performance of Richard’s composition “YVK20090822 (for viola, cello, contrabass, and speakers).” Richard quickly recruited Anne + myself to do the speaking parts. I had performed a speaking part in a composition by Andrew Lafkas a few weeks before so I’m finding a new niche. We were very fortunate in that the local musicians performing the piece were inquisitive (and cooperative) in a work that was very much out of place for the evening. The audience was also appreciative, which helps.

The next night we played our first real gig (at the Helen Pitt Gallery), as part of a “4 Nights of Improvised Music” series. Following the brilliant opening performance by Jeffery Allport and Tim Olive (on percussion and tabletop guitar, respectively) and a hypnotic duo by Sam Shalabi on oud and Josh Stevenson on synthesizer was a real treat. Also respect to the great, large Vancouver audience and thanks to Chris for letting us stay at her apartment (and mailing my power supply back to me – see below).

Seattle, August 24:

A quick bus trip across the border got us to Seattle in the afternoon, where we had a little adventure with the public transit system. Good times. We had time to spare so we got to unwind with some nice foods and juice and teas before the gig.

The concert was at Gallery 1412, a reasonably sized but acoustically very dry space, which turned out to be perfect for the night’s proceedings. I had left the power supply for my laptop in Vancouver, which also turned out to be a perfect, if minor alteration to my setup for the night. When Anne & I perform as Fraufraulein, I play without my laptop, and have done the same during some Delicate Sen rehearsals/recordings, so this was not a new beast to confront, and given the very minimal and quiet tone of the night’s performances, I didn’t miss my computer a bit.

We were joined by Seattle musicians Mark Collins (bass), Mara Sedlins (viola), Tyler Wilcox (soprano saxophone) and Wilson Shook (alto saxophone), and performed in the following combinations:
Mark Collins / Richard Kamerman / Tyler Wilcox
Mark Collins / Billy Gomberg / Anne Guthrie / Mara Sedlins
Billy Gomberg / Mara Sedlins / Wilson Shook
Anne Guthrie / Richard Kamerman / Wilson Shook / Tyler Wilcox

This was a great concert to listen to, and a joy to participate in. Mark, Mara, Wilson & Tyler brought amazing sensitivity and timing and it was nothing less that a total pleasure to perform with them. Thanks to Wilson, Tyler and EGFS for putting us up for the night!

Portland, August 25:

Picked up our rental car in downtown Seattle, loaded up on foodstuffs, and headed down to Portland. Met up w/JP Jenkins (our lovely host), and spent the afternoon unwinding in some more lovely northwest weather, regaled by a very long joke about a dirty limerick, told in Pynchonesque tandem by JP and Shane.

Gallery Homeland, our venue for the night, could not have been more different from 1412 in Seattle. Where the Seattle space was dry and intimate, Homeland was a huge old warehouse space, with a long & distinct reverb, few early reflections, and a penchant for swallowing some frequencies, which made for a very different concert following Seattle. Performing with us were Jean-Paul Jenkins (guitar), Mark Kaylor (percussion) and Kelvin Pittman (saxophone). The concert went as follows:
Delicate Sen
JP Jenkins / Mark Kaylor / Kelvin Pittman
Billy Gomberg / JP Jenkins / Mark Kaylor
Anne Guthrie / Richard Kamerman / Kelvin Pittman

This matchup produced a totally different sound from the improvisations in Seattle, in the best way…sound really filled up the space, expanding in its reverberation, the room taking on a life of its own. After our first trios got comfortable in the space, the third and fourth sets set out on more bold pathways: my trio w/JP and Mark grew large and almost antagonistic, settling and then reforming. Anne, Richard and Kelvin stayed sparse…letting their contributions touch, join or separate, counterpointing w/trains passing and street noise. Another really stunning night.

Oakland, August 27:

Rolled into Oakland pretty weary of sitting in a car and promptly exacted our vengeance on our audience! All three of us knew that, at some point on tour, we were going to play a set that was entirely too loose, too loud and probably a bit crazy. Objects routinely flew from Richard’s table (which at some point encountered some beer), sending Anne & I off on dissonant tangents, all three of us re-convening for another collision. It was raw and messy (literally). Thanks to Jason Moore for preventing us from ending our night at a reasonable hour.

Los Angeles, August 29:

One last day on the road through the bleakest landscape on I-5…drought ridden in the middle of California sprawl…arrived in LA after 90 miles of approaching a large dark smoke cloud. We all felt strongly about LA, maybe due to our status as New Yorkers, but mostly due to this being the last show of the tour. We also played to an entirely different audience in LA – much more from the contemporary electronic/laptop landscape where my solo records roam than the new strains of improvised music that Delicate Sen’s general style would fall into. We also wanted to be able to really bring our experiences on the road into definitive performance, which we all agree is exactly what happened.

We were treated to a very appreciative crowd and a great venue at Betalevel. There is nothing like wandering through little alleyways in Chinatown to set the mood. I don’t really have much to add except that this was the best way to end our brief tour…thanks to Ryan (Sublamp) for wrangling a great show for us, Yann & Rob for hosting, and everyone who came out.

WEST COAST TOUR August 22-29

I am happy to announce that Anne Guthrie, Richard Kamerman and myself are set to depart on a brief west coast tour from August 22-29. We will be performing as Delicate Sen and are quite excited to be sharing the stage with some fantastic musicians from the Vancouver, Seattle, Portland, Oakland and Los Angeles. We will have lots of CDs, CD-Rs and tapes for sale. Please come out if we are set to entertain your locale…

August 22nd
Alley Pad Studios – 1744 East Hastings Street, Vancouver, BC
an evening of new music by Daron Hagen, Richard Kamerman, Sean Veley, and Elliot Vaughan
featuring Kamerman’s YVK20090822 (for viola, cello, contrabass, and speaker)

August 23rd
Helen Pitt Gallery – 102-148 Alexander Street, Vancouver, BC
Tim Olive/Jeffrey Allport
Sam Shalabi/Josh Stevenson
Delicate Sen

August 24th
Gallery 1412 – 1412 18th Ave, Seattle, WA
various ad hoc groupings with local improvisers:
Mark Collins (bass), Mara Sedlins (viola), Tyler Wilcox (soprano saxophone), Wilson Shook (alto saxophone)

August 25
Gallery Homeland – 2505 SE 11th Ave, Portland, OR
various ad hoc groupings with local improvisers:
Jean-Paul Jenkins (guitar), Mark Kaylor (percussion), Kelvin Pittman (saxophone)

August 27
Flux 53 – 5300-5312 Foothill Boulevard, Oakland, CA
w/Aurora Josephson

August 29
Betalevel – 963 N. Hill Street, Los Angeles, CA
Last Nights of Paris
Help Is On the Way
Delicate Sen
Sublamp

days

Hot on the heels of Comme arrives a new collection of work, Days, published by the boutique Brooklyn label The Land Of. Thanks to Justin and Kim for their work on and support of this collection.

Days collects five studio pieces drawn from acoustic recordings of piano and voice, treated, amplified, and arranged. The arrangements are simple: long passages of sound material lay next to each other, their closeness and distance outlining a structure.

The impressions of sound, and upon sound, color through the window influencing the acoustics. Transparency and a sense of architecture. Materials, once unique, begin to reflect each other, and that can be enough.

Anne recorded herself singing a old folk song in both Swedish and English. She took the recordings and mixed them together in software. She liked the result and suggested that I work with these recordings. The piano recordings are of my own improvisations. On “exposures,” I’ve done some singing as well.

some words from Anne:

i think of these words
post-punk
architecture
what you hear at 5 am after you stayed up all night deep in some project and yr not
really sure yr awake
but yr just reentering reality
and sort of surprised it has been there all night

lastly, a quote:

“no one writes or paints alone. but we have to make the pretense of so doing.”
bourriaud, relational aesthetics, p.81


Days is issued in a limited edition of 100 lovely discs (and 320k digital download), available from The Land Of website. Justin Hardison, who curates The Land Of, has included a track from Days in this lovely mix:

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comme

my album comme is now available from mOAR

from the and/OAR blog:

“Electronic sound caught gazing at its own physicality, acoustics in love with their own abstraction.”

If this statement exemplifies Comme to a fault, then the cover art would only confirm it. Music that seems to take on a personality of its own immediately after birth during the first track, then gradually wandering off to further contemplate its place in a new found sonic world with Billy and the rest of us following along as dazed observers.

from the mOAR catalog:

Billy’s debut CD release displays abstract and complex dimensions of texture and tone that might make more sense at first on a subconscious level before it will on a conscious one. Therefore, it is advised to first approach this music from a pure listening standpoint, free from preconceived notions of musical structure and form since it can defy such prosaic logic.

These tracks are the start of my working toward a more immediate sound – improvisation w/software, real-time construction of the sound material and structure, taking priority. While some material comes from software in real-time, all other sound was generated by Roland Juno synthesizers, plus a few tracks incorporate my voice. Post-production editing and treatment were mostly employed to find the clearest expression of my improvisations and shape them into more conventional ‘tracks’ or ‘songs.’ When improvising in this style, I do have a sense of trying to find a ‘song,’ and letting that take me somewhere else.

Somewhat more abstractly – where was I when I started this work – a good portion of this album was started just after I moved to Brooklyn in 2005. Risking cliché, this is raw sound, a discovery of style (or a total lack of it). I just make music, it’s a space between the listener and myself. In this way, sound is ‘simple’ – its presence as we listen gives it expression, our listening finds its language.

I am very excited about this collection, and nothing short of tremendously satisfied with it. Much gratitude to Dale for his support and vision with this album, and the and/OAR family of labels.

comme is available at the and/OAR diffusion shop.

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